DESIGNER
PAUL POITET
Known as Le Magnifique in Paris and the King of Fashion in the US, Poiret (1879 - 1944) was said by The New Yorker (1927) to have “helped to change the modern retina.”
This brew of descriptions underlines three aspects of the man who dominated Parisian and international fashion in the 1910s — a theatrical orientalism, a new talent for branding and promotion, and a blending of clothes with avant-garde art.
Poiret started auspiciously, working for two leading turn-of-the-century maisons: Jacques Doucet, then House of Worth.
When he opened his own Parisian future house around 1903, he set about overturning Belle Epoque fashion values.
DRAPING BY DESIGN
With a new silhouette came Poiret’s fresh take on structuring garments.
He replaced classic 19th-century pattern-dependent tailoring with an inspired draping of fabric and let garments hang from the shoulders.
Between 1906 and World War I Poiret experimented with bold shapes inspired by a more natural female form and his own take on oriental luxury.
FUSING FASHION, THEATER, AND ART
A sense of theater was integral to Poiret’s work, the oriental costumes of the Ballets Russes in productions such as Scheherazade (1910) being a major influence.
Poiret’s lampshade tunic appeared in his costume designs for an orientalist play called Le Minaret.
设计师
保罗 波烈
被称为巴黎之星与美国时尚之王的Poiret波烈（1879-1944年），被纽约客（1927年）称作是“改变现代视觉感官的人”。
这样的评价强调了二十世纪10年代主导巴黎与国际时尚人士的三个方面 -- 一种戏剧性的东方风格，一种懂得品牌推广的新才华，以及将前卫艺术与服饰融合的能力。
波烈开始得非常顺利，他为两个世纪之交时最先锋的时装屋工作，Jaques Doucet，之后是Worth时装屋。
1903年左右他开设了自己的巴黎时装屋，并且推翻了Belle Epoque的时尚价值观。
立裁
伴随着波烈结构服装到来的一种新的轮廓。
他替换了19世纪经典的模版剪裁，而以悬垂面料为灵感，将衣服挂在衣肩上。
1906年到第一次世界大战之间，波烈从一种更自然的女性形态中获得灵感，实验了许多大胆的形状与属于他个人的东方奢华风格。
融合时尚，舞台与艺术
剧院造型是波烈工作的一部分，东方服饰在俄罗斯芭蕾舞作品，如Scheherazade（1910年）中起主要影响。
波烈的灯罩长袍出现在他的戏服设计中，是一部叫做Le Minaret的东方剧。
